Share thoughts on Keith Jarrett

Just to keep the conversation going, I wonder if those of us who are fans could try to list some of the things about Jarrett's playing, writing, and bandleading that are distinctive.

Or make references to essays, links, books, that do this especially well.

In other words, how is his playing different from, say, Bill Evans and Brad Mehldau? The typical jazz textbook surveys, like those by Gioia (who loves pianists) and DeVeaux/Giddins (who are more horn-oriented than Gioia), and the little JAZZ 101 by Szwed, are appreciative of Jarrett in terms of impressionism, neo-romanticism, and mixing gospel and rock styles with improv-heavy open arrangements, but we could we also talk about the nature of his touch, use of space, harmony, phrasing?

As a particularly big fan of jazz ballads, I kind of see Jarrett as the linking figure between Evans (someone I'm utterly convinced was a giant of piano improvisation and trio conception, and an inevitable influence on Jarrett's acoustic style) and Mehldau (who strikes me as close to Jarrett in many ways, notably in his rockish ways, use of simple vamps, and tendency toward long single-note runs in right hand, compared with Evans more two-handed chord-shifting style).

And I kind find favorite Jarrett records from each of his phases, but I always like him better when playing with others.

Oh and I neglected to mention Paul Bley above. I was just listening to him today and thought, wow, now there's someone who really pared back the pianistic language and led to a post-Ornette highly melodic, less chordal style.

Great post, Frogman. Good reading!

The poignancy of Bill Evans' best recordings, combined with the outrageous virtuosity of his harmonic reworkings of materials, and his famous touch, plus his compositions, far outdistance Jarrett for me too.

That said, I've really appreciated many Jarrett records, almost always when playing with others. I'm one of those oddballs who really doesn't like KOLN CONCERT much at all. Those "gospel-ish" arpeggios and the high-pitched drama are really off-putting to me. But the 70s band with Motian, Redman, et al: that's some goood stuff. And the standards trio of the 1980s as well. And then the very recent standards albums (one of duets with Haden) and the other solo (but not long-form improv) are strikingly good and approach the impact of Evans' best.

Perhaps some wiser head could educate me as to how best to listen to Jarrett's solo sets. I'm not allergic to solo improv (with no "head") on piano, though it is a hard-sell: I love Cecil Taylor and Muhal Richard Abrams and Misha Mengelberg, for example. But they are in a different strain of post-bop jazz than the Jarrett/Evans/Mehldau strain, I would say.

I think the connection from Jarrett to Kikuchi is a fecund one, especially as they both record (sometimes) with Gary Peacock and Paul Motian (what a bass/drums genius duo there!).

Kikuchi does sometimes moan and whine, in the tradition. Jarrett didn't start the fire there.

But some of Kikuchi's trio records with Peacock and Motian--as Tethered Moon-- are really off-the-chain lovely. Their cd inspired by Edith Piaf CHANSONS DE PIAF (1999, winter & winter cd) is extraordinarily gorgeous.

Kikuchi's distinctive habit as a pianist in trio setting is playing ballads REALLY slowly, with broad knotty chording, horn-like single-finger melodies, and with wildly over-the-top (dramatic, quietly histrionic perhaps) hesitations. The vocalizing syncs with the crescendos and the tension. It's not unappealing, if an acquired taste.

Also check out PLAYS KURT WEILL, by Tethered Moon (Kikuchi, Peacock, Motian). (1995, Polydor cd).

Kikuchi sometimes records with Paul Motian as leader as well.

I'm especially impressed by PAUL MOTIAN ON BROADWAY, v. 5 (with Kikuchi). And PAUL MOTIAN TRIO 2000 + One (with Kikuchi; Winter & Winter).

I saw the trio once or twice at the Village Vanguard and it was exceptional. Very dramatic music. Extremely dark and romantic. Kikuchi's semi-minimalism allows Paul Motian to sweep in with his inimitable way of filling big spaces with nearly arhythmic commentaries of pure loveliness.

Ok, I'm a fan.